Connected Essays and Tracts, by H. O'Conner, Esq. 8vo.-These essays are on Morals and Metaphysics. They contain much that is ingenious and well reasoned, and much just and acute criticism on the speculations of former writers, as Hume, Browne, Paley, &c. The third Essay does credit to the author's power of argument, and to the justness of his religious views, and is a valuable specimen of his skill and knowledge. There are other parts which we do not approve, and we are sorry to see Archbishop Magee treated with levity, if not with disrespect. We observe that in the argument on 'Sacrifice,' the author has taken no notice of the very acute and elegant treatise on the subject by the late Mr. Davison, which is well worthy his attentive perusal.

Bishop Ken's Prose Works, collected by S. T. Round. 8vo.-We are obliged to Mr. Round for having collected in this convenient volume the scattered publications of this amiable, excellent, and intelligent prelate. The greater part of the present collection was published in separate pieces by Bishop Ken in his lifetime. Mr. Bowles, in his entertaining and excellent life of Ken, printed some letters for the first time; others, the editor has been enabled to add from the Bodleian and from Dr. Williams's collection, while the library at Longleat furnished him with the articles of visitation and enquiry. It appears that several works which have been printed from time to time as Ken's, are not authentic. The four following have been rejected as spurious.

1. A Letter to the Author of a Sermon.
2. The Retired Christian.
3. The Royal Sufferer.

4. Expostulations on the Complaints of the Church of England.

Mr. Round has reprinted Mr. Hawkins's Life of Ken; he has then given us many interesting letters from Ken, W. Lloyd, and Dr. T. Smith; three Sermons, with an excellent Manual of Prayer, and Letters or Charges to the Clergy. The volume will be gratefully received by all who love the memory, admire the piety, and esteem the abilities of this excellent man, and will form an admirable companion to his biography by Mr. Bowles.

British Diplomacy and Turkish Independence. 1838.-The author entertains no doubts of the ambitious designs of Russia, as regards the possession of Turkey, and her further views of oriental conquest; and he urges the union of Turkey, Austria, and England, as the best counterpoise to her projects.

GENT. MAG. VOL, X.

Shakspeare and his Friends. 3 vols.We consider this class of writing to be very difficult in the execution. First, because it seems to promise the expectation of talent, similar to that suggested by the subject of its story; for no one would dramatize the character of Shakspeare, but on the supposition that the glory of that great name would not be impaired in his hands; and that when Shakspeare speaks through him, he loses not "a drop of the immortal man." As the author selects the highest model he could find, he must soar himself with no unequal power of wing. Secondly, we are so little acquainted with the thoughts and sentiments of our forefathers, we know so little of them except in the public page of history, that to throw oneself into their bosoms and form sentiments, reasons, and thoughts for them, in the familiarity of common and domestic intercourse, would be a task that only genius itself like Scott's could hope to execute. Thirdly, the use of antiquated language, such as would be the fit vehicle for the expression of the sentiments of such characters, persisted in through a whole work, is always tiresome; even Scott has sometimes failed in this point. Lastly, for the reason before stated, there is in such works, as the present, little solid matter compared to their bulk and compass. The author is so fearful of his ground, and is so little acquainted with the thoughts and ideas that his characters should possess, that he confines himself to colloquial and favourite expressions, compliments, descriptions, dialogues without purpose or result, general and vague statements, half-contradictions, prosy excuses and long harangues, while the stream of narration, being impeded by these obstacles, sullenly and slowly proceeds. We say this of the book before us and of others of the class; though there is cleverness both in the prose and poetical parts, and some few of the scenes are correctly and forcibly drawn. But what authority has the author for making Queen Elizabeth appear at a public theatre ?

Fitzherbert, or Lovers and FortuneHunters. By the Authoress of the Bride of Sienna. 3 vols.-Notwithstanding, as it appears to us, two faults in this novel, which are, that the plot is not a very happy one, and that there is a tendency to overcharge some of the scenes; yet it has very considerable merit, is written with spirit and elegance, the characters are varied and contrasted, the incidents amusing, and the dramatic part, or dialogue, very well imagined and executed. We cannot afford time to give an analysis of the story, which after all would be, stripped of its Ꮓ

details and of its drapery, exceedingly uninviting in our hands; but we can assure those whose favouring star allows them leisure to delight in such works as these, that they will be amused with very clever portraiture in many of the characters; and that they will see various pas. sions and interests, deep and light, tragical and ludicrous, sketched off with excellent effect. The character of Miss Mathews, bating a little extravagance here and there, as in the skating scene, very comic, and so true, that she may stand for the genus of the tribe she represents. Her friend Mr. Shuffle is a fine specimen of the scoundrel attorney, such as drove poor Sir Egerton Brydges out of his country and his wits. Then, again, the Sullivan family is excellent; and some of the scenes first-rate; from the worthless mother to the Piccoletto and the dirty old countess. Mrs. Syntax is a true portrait in another line; while a just relief is given to all this impudence, ignorance, roguery and crime by the fine natural and virtuous characters of Fanny Hobson and her brown husband; and the affecting narrative of Julia and Walter Mandeville. The rival heroines, Emily Harland and Camilla St. Clair, are placed in sufficient and not too strong a contrast. We do not think much can be said in favour of the hero of the tale, Fitzherbert; for the infidelity which he shows, arose out of a levity that has no alliance with the manly virtues; and we are glad Mr. Aubrey was ready to set all matters right knowing well

"It is best to be off with the old love

Before we are on with the new."

On the whole, the fair authoress must not think us deficient in gallantry, or cold in our approbation, because we do not quote some passages from her pages as specimens of her power. We assure her that we have no space at liberty for such purposes, or we should know where to go without difficulty to select scenes that would highly gratify all of our readers under threescore; as for instance a sketch of the Wilmot and other families, in which Emily resided as governess. Descriptions such as these are very faithfully wrought out, and are skilfully carried even into the difficulty of the details. The authoress wants neither wit to invent, sagacity to observe, nor elegance and animation of language to describe; her characters have life; her descriptions force and truth; her sentiments and reasonings are just; and her views of society, and her sketches of its manners, its follies, and its weaknesses, shew a ready tact and quick observation. Our advice is to persevere in her

course, and by reading and remark get as many fresh shades of character out of the mass of society as she can; more she cannot expect to obtain; but every passion, well observed, will afford some individual traits, as the same water will receive a change according to the local diversities of soil it passes in its course.

The Christian Fathers of the first and second Centuries, &c. (translated) by the Rev. E. Bickersteth.-In this volume are comprised translations of Clement, Ignatius, and Polycarp; followed by the valuable Dialogue of Justin the Martyr, and These treatises, part of Athenagoras. coming so closely as they do to the apostolic age, and some even mixing with it, are of great value indeed, as they affix the seal of antiquity on the great doctrines of our faith, and form an authentic commentary on the apostolic writings. They are, too, in themselves most interesting compositions to the biblical scholar. Mr. Bickersteth has in this work one more claim to our respect.

The Siege of Antwerp; a tragedy. By William Kennedy. 1838.-We will fairly

inform the author what we think is the defect of this play; viz. that we are more interested in the event of the Siege of Antwerp, and the public transactions, and the result of the plan for breaking the blockade, than in the character and fortunes of the persons who are engaged in the plot on either side. There is no one character of predominating interest; none to which we attach our wishes and interests; none possessing qualities to engage and delight us-yet Giambelli and Cassilda are good sketches, which want but little to place them in a brighter and fairer view. But there is no action in the drama, and Giambelli is only distinguished as the planner of a scheme to destroy a bridge by some fire-boats. There is no development of character, no movement of the greater and fiercer passions-no catastrophe, the result, as in Macbeth and Richard, of previous and foregone conclusions. The effect on the whole is heavy, and the story moves as languidly as one of the canals of the country in which it is laid. But we must still say, that the poet is superior to his work; and notwithstanding we think Mr. Kennedy not fortunate in his plot, nor successful in his characters, we still see a very poetical vein pervading the piece; his taste is good; his imagery pleasing and correct, and his style and language very suitable to the subject. We must add, that the prose introduction in the first scene, not

being filled up in the same manner in subsequent parts, is a defect, and should be altered in another edition.

The Daily Service; a Sermon preached in Lincoln's Inn Chapel.-By the Rev. R. W. Browne, M.A.-The object of this discourse is to advise and promote the restoration of the Early Service every morning throughout the year in the Chapel of Lincoln's Inn. The author observes that it must be a matter of satisfaction to all who wish to see the Church returning as nearly as possible to the

STAINED GLASS.

practice of the apostolic times, to know that this example has been set at Lincoln's Inn. From a treatise called Pietas Londinensis, published early in the last century, it appears that there were at that time daily prayers in no fewer than 71 London Churches and Chapels, exclusive of Westminster Abbey and St. Paul's. In the sentiments of the author we cordially agree, and we gladly bear testimony to the ability and zeal with which they are developed and inforced in the present discourse.

A stained glass window has been lately executed and erected in a Romish chapel at Oscott, near Birmingham, which is scarcely surpassed by any modern production of the kind. It contains upwards of 170 feet of glass, the whole of which is vitrified, and all the colours most to be admired, but now seldom seen, are in great truth and perfection: the ruby, ultra-marine and mazarine blues, sea green, violet, vermillion, azure, and all the neutral and rare tints prevail, and are disposed throughout the whole work with great taste and harmony, equal to the best specimens of the earliest period.

In the centre compartment, or altar window, is the Virgin crowned and splendidly draped, bearing the infant Jesus in her arms: a profusion of jewels, exquisitely imitated, decorate her crown and robes, and in her right hand she bears a sceptre surmounted with the Eastern star. On her right she is supported by St. Katharine, the patroness of all theological and academical learning; and below her is St. Gregory, (in whose papacy St. Augustine was first sent to England to preach the Gospel,) in a kneeling posture, clothed in pontificalibus, the alb, dalcatia, and tiara: he is supplicating the Virgin, and bears a scroll inscribed, "Oro pro populo;" his pontifical crozier is in his right hand, richly studded with jewels. On the left of the Virgin is seen a figure of St. Cecilia, the Romish patroness of all sacred and choral music, with her appropriate symbol or emblem: this figure is beautifully designed and executed, and especially marks the artist's good taste and talent. Somewhat below this figure is seen another, of St. Thomas à Becket (the martyr of Canterbury), kneeling also and supplicating, with a scroll inscribed "interveni pro clero:" the saint is arrayed in pontificalibus, with his gorgeous mitre, pastoral staff, and the instrument

of his martyrdom; the mitre and pastoral staff exhibit jewels that, for colour and painting, equal the work of Quintin Matsys. On the right and left of the whole are two smaller figures kneeling and supplicating: the one is a lady (the donor of the window), and the other her son; the former habited as a nun, the latter as a knight, both bearing their coat armour on their mantles or surcoats. These seven figures complete the subject of this compartment. The background of the whole is beautifully irradiated with a glory pro. ceeding from the figure of the Virgin, in alternate rays of ruby and azure; in the clouds are depicted groups of angels.

The two side windows each contain six figures of the twelve apostles of the Christian Church, with gothic pedestals and canopies, exquisitely designed from examples of the fourteenth century: each figure is appropriately draped, and distinguished by its proper symbol of martyrdom, where necessary. We have no hesitation in stating that twelve such figures are not to be met with in any of the ecclesiastical windows, either at home or abroad. The principal figures are more than four feet high.

The ante-chapel of Wadham College, Oxford, has been enriched with two splendid windows of stained glass; and, judging from the specimens of some undertakings by others of modern date, we are confident the artist, Mr. David Evans, of Shrewsbury, has, in the present instance, both in harmony of colouring, tasteful execution, and brilliancy of effect, most successfully grappled with the finest works of the old masters in this ancient and beautiful art, and for nicety of shadow has in many points even excelled their best efforts. The windows contain three figures each, from designs by John Bridges, Esq. of Oxford; a brief description of which is as follows:

KING DAVID is clothed in a rich crim

son robe, with a green vest, one hand resting on a golden harp.

KING SOLOMON, a fine spirited figure, bears in his right hand a sceptre, and in the left a plan of the Temple of Jerusalem he is clad in royal purple, lined with ermine, having a richly diapered tunic.

THE PROPHET ELIJAH, with his right hand uplifted, is in an attitude strikingly expressive of the character he sustained as the "Man of God;" and the folds of the flowing drapery of his blue mantle are most tastefully managed.

ST. JOHN THE BAPTIST is represented in white raiment and "camel's hair," over which hangs loose red drapery, lined with blue. In his left hand is a wand forming a cross, bearing the usual scroll.

ST. MARK, a venerable figure, holds an open Gospel, while the sober tint of his vestment forms a marked contrast with the rich green and red drapery of

ST. LUKE, who is in the act of attentively writing on a tablet with an ancient style.

Each of the figures are surmounted by canopies of exquisite delicacy of ornament, and stand on pedestals after that exuberant though peculiar and fantastic style of decoration which prevailed about the time of James the First.

The front of each pedestal contains the armorial bearings (as Visitors of the College) of the following Bishops, impaled by those of the see of Bath and Wells:

1. CREIGHTON. Ermine, a lion rampant Azure.

2. MEWS. Paly of six Argent and Azure, on a chief Gules three crosses formées of the First.

3. KEN. Ermine, three crescents Gules. 4. Kidder. Sable, a saltire embattled counterembattled Argent.

5. HOOPER. Gyronny of eight Ermine and Azure, over all a castle Argent.

6. WYNNE. Gules, a lion rampant Argent.

In the upper division of the windows are the arms of Bishop BLADON, Sable, three lioncels passant Ermine, with human faces in profile Proper, between four crosses pattees in pale Argent; and of the present Bishop Law, Ermine, on a bend engrailed between two cocks Gules three mullets Or.

Other windows, we understand, are in progress by the same artist for this college.

The corporation of Newtown having been dissolved by the Reform Bill, it was determined, about the beginning of last year, with the residue of their funds, aided by the liberal assistance of Sir R. Simeon, Bart. and the neighbouring gentry, to re

construct the parish church, which task has been ably performed under the direction of A. F. Livesay, esq. the architect. The style of architecture adopted is of the same date as the original building, viz. that in use in the latter part of the reign of Henry the Third. The church is lighted by a large triple window at the west end, with plain lancets, and at the east end with a double light window divided by a mullion, with hexagonal rose and pierced spandrils in the arch, being similar in character to the choir aisle windows of Westminster abbey. The foregoing remarks are made with the view of noticing the painted glass with which the east window of the church has been filled. It was proposed last summer, when the church was nearly completed, to put up in the window a plain coloured border with a dove and the letters IHS in the arch; but Mr. C. Edwyn Gwilt, who was applied to, made an ornamental design in a style appropriate to the character and apparent age of the building, and having been previously informed of the probable difficulty of procuring funds to execute the same, named 60 guineas as a price, not half its real worth. This sum was still thought more than was likely to be raised, and it was therefore then agreed that a modified design should be executed for 40 guineas.

Mr. C. E. G. has made the early English style his favourite study: pursuing the subject with the feelings of an amateur, the desire of producing a revival of an ancient and beautiful style of art caused him to throw aside pecuniary considerations, and he has completed, at his own risk, an elaborate but chaste window, which, at a moderate estimate, is worth 150 guineas.

The two lights are each 2 ft. 6 inc. wide by 10 ft. 10 inc. high, and are filled with tracery patterns with coloured roses and borders, and four coats of arms are introduced alternately harmonising with the principal pattern, the whole enclosed by a marginal border of tracery. In the first division of the two lights the following inscription is introduced: "This painted glass, in the national style of the 13th century, was raised by subscription, successfully promoted by A. F. LIVESAY, esq. and was designed and executed by C. E. GWILT 1837-8." In the second divisions of both lights are the tracery patterns above alluded to. In the third division of the first light are the arms of the corporation of Newtown, viz. Purpure, on the deck of an old ship, sails and mast Or, a royal lion Gules, the sea Vert, in the field a shield of St. George, a star and crescent of the second, at mast head a

flag of the third, the motto "S. coniatis (communitatis) de Frencheville de Lile de Wyht," is introduced as a border to the pattern of the shield. These arms have been said (but improbably) to record the capture of the town, about the end of the 14th century, by the French, who under cover of night surprised and took the place; from which, however, they were soon compelled to retreat. The real meaning of Francheville is the free town. On a level with this coat of arms in the second light is the coat of the Earl of Yarborough, viz. quarterly 1 and 4 Azure, three pelicans Arg. Pelham, 2 and 3 Gules, two belts erect, buckles, ferrules and fringe Or, the motto "Nec temere nec timide." Below these two coats of arms is another division of tracery in each light. In the fifth division of the first light, the arms of Lady Simeon's father, the late Sir Fitzwilliam Barrington, are introduced, viz. quarterly 1. Argent, three chevronels Gules, a label of three points Azure, Barrington, 2. Party per pale Or and Sable, a saltire engrailed Counterchanged, Pole, 3. the arms of England and France quarterly, Plantaganet, 4. Gules, a saltire Argent, a label of three points Argent and Azure, Neville,-the motto "Tout ung durant ma vie." On a level with this coat in the second light are the arms of the Hon. William Henry A'Court Holmes, viz. quarterly, 1 and 4. Barry wavy of six Or and Azure, on a canton Gules, a lion royal Or, in chief a rose Gules, Holmes, 2 and 3. Paly of six Or and Azure, each metal charged with three Ermines, on a chief of the first an eagle Sable, debruised by two chevronels Argent, A'Court. The sixth and last division of each light is the principal tracery rose pattern repeated. The hexagonal rose in the crown of the arch, which is 3 ft. 1 inc. in diameter, and three spandrils, are filled with tracery of corresponding character to that in the lights below.

The glass is worked as well as designed in accordance with ancient examples, and it is filled in with hatching or cross lines, which make a rich ground and effectually bring out the patterns: the tracery is in thick outline, nearly opaque, the whole being securely burnt in. The coloured portions are transparent pot metal, flashed glass,

and stain.

Works of great merit have been lately executed with the colours semi-transparent, or burnt on the surface of white glass; but for the imitation of ancient works the transparent colours are certainly the more correct-the ruby red is exceedingly brilliant.

The window is composed of many hundred small pieces of glass joined with lead,

so arranged that it forms part of the design: this, it is presumed, is an advantage over the modern system of glass painting on the score of strength and security, for should the glass receive a blow by a stone or otherwise, a small piece or fraction only is destroyed, and which can be easily replaced, whereas in the modern system, which are very large pieces, should the same receive a blow, the chance is that the work is entirely destroyed.

When only a third of the window was fixed at the consecration of the church, high encomiums were bestowed upon it, especially by the Bishop of Winchester, who desired to be introduced to the artist. And we are gratified in being able to state that in consequence of the execution of the present window, Mr. Gwilt received a command to execute others for a chapel in the church of Calbourne on the island.

SIR CHARLES COOTE'S PICTURES.

May 9, 10, 11. The sale of the splendid collection of the works of the old masters, the property of Sir Charles Coote, took place at the Royal Irish Institution, Dublin. The pictures were disposed of at unusually low prices. Albano's Cupid sold only for 30 guineas, and the works of Vandyck, Hendekoeter and Cuyp, of Poussin and Paul Potter, scarcely averaged 101. each. The works of several artists of lesser note went far beneath their intrinsic value. The labours of Salvator Rosa, Ostade, Murillo, Watteau, were never before so badly estimated. The Nativity, by Murillo, which Mr. Harrington purchased a few years since in London, for 521. was knocked down for 19 guineas. Guido's Magdalen, produced a low price. Hobbima's, Albano's, and Teniers's works went at reduced sums also.

PORTRAIT OF SIR JOSHUA REYNOLDS.

As a part of the moveables belonging to the late corporation of Plympton, which have, according to the new regulation of such bodies, been "sold up," we find the following announcement in a catalogue of Messrs. Christie and Manson :-" Sir J. Reynolds. 173. His own portrait. This picture was presented by him to the corporation of Plympton when he was elected mayor of that borough. The picture has hung in the dining-room of the mayoralty house at Plympton ever since the receipt of it until the present time, and is now sold by order of the mayor and corporation." Sic transit gloria mundi. The fine arts must be at a low ebb at Plymp ton!!